CINEMATIC REVELATIONS allows me the luxury of writing, editing and archiving my film and television reviews. Some reviews appeared initially in "The Commercial Dispatch" and "The Planet Weekly" and then later in the comment archives at the Internet Movie Database. IMDB.COM, however, imposes a limit on both the number of words and the number of times that an author may revise their comments. I hope that anybody who peruses these expanded reviews will find them useful.

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Monday, November 2, 2015

“The Last Witch Hunter” (* OUT OF
****) casts spells that are far from inspired and mediocre at best.
“Dungeons & Dragons” aficionado Vin Diesel toplines this ponderous,
PG-13 rated pabulum as an 800-year old protagonist who struggles with the help
of the Catholic Church to preserve a precarious peace between witches and
mankind. Not only does Diesel appear incredibly miscast as an immortal
“Highlander” type medieval warrior careening around contemporary New York City
in a sports car, but also this witchy washy yarn doesn’t surpass superior
witchcraft fantasies such as “Snow White and The Huntsman” (2012) and “Hansel
& Gretel: Witch Hunters” (2013). The chief problem with this
lavishly-produced, CGI-laden extravaganza is that it takes itself far too
seriously. Apart from its dire shortage of humor, this dreary potboiler
suffers from a dearth of quotable dialogue, banal adversaries, and second-rate
supporting characters. Gifted thespians like Oscar-winner Michael Caine
and Elijah Wood shrivel in lackluster roles as our hero’s sidekicks who are
designated as ‘Dolans.’ “Sahara” director Breck Eisner and three
scenarists, Cory Goodman of “Priest” along with Matt Sazama and Burk Sharpless
of “Dracula Untold,” have conjured up a synthetic storyline that generates
neither charisma nor spectacle. Actually, they appear to have imitated the
sensational Wesley Snipes’ vampire saga “Blade” right down to its rebirth of an
ancient blood demon. Similarly, “The Last Witch Hunter” should have
bristled with non-stop momentum, violently outlandish combat sequences, and a
coherently contrived mythology. Instead, it degenerates into a dreary
mumbo-jumbo melodrama. The most ambitious CGI scene pits our hero against
a clumsy beast known as ‘the Sentinel,’ and he destroys behemoth with a sword
as if he were a bullfighter straddling it. This unruly creature resembles
a huge tiger that appears as it if were assembled from wicker and features a jet
engine afterburner for its gullet. Our hero’s chief adversary is a
hideous Witch Queen swarming with creepy crawlies who looks like she has spent
too many centuries in a mud bath. Moreover, she boasts none of the imaginative
flamboyance of Charlize Theron’s enchantress in “Snow White and the Huntsman.”

“The Last Witch Hunter” unfolds
during the chilly Middle Ages. A group of stalwart souls armed with
swords trudge through snow-swept, mountainous terrain to storm an eerie cluster
of haunted trees. A despicable looking dame known as the Witch Queen (Julie
Engelbrecht of the TV mini-series “The Strain”) inhabits this stronghold raging
with fire and brimstone. Predictably, she isn’t glad to see these bearded
gate-crashers with their religious iconography. This homicidal hag with
her hatred for mankind has already decimated humanity with a black plague and
incurred our hero’s wrath. The Witch Queen’s pestilence exterminated our
hero’s wife and daughter, and his happier times with them are recounted in
several flashbacks. When Kaulder (Vin Diesel with dwarfish dreadlocks)
and the Witch Queen tangle, our fearless witch hunter skewers her with his
flaming sword and finishes her off. Ironically, Kaulder survives this
trial by combat, but his survival becomes a tribulation. “I curse you,”
howls the wounded witch. “You’ll never know peace. You will never die.”

Afterward, “The Last Witch Hunter”
shifts its setting from the 13th century to the 21st century.
Our brawny, shaven-headed hero with neither dwarfish facial fuzz nor
noggin fur prowls a passenger jet as it encounters foul weather.
Actually, an ignorant young witch has smuggled a dangerous collection of
runes aboard the aircraft, and she is to blame for the increment weather.
Naturally, our erudite hero invokes his age-old wisdom and defuses these
volatile artifacts. Nothing about this scene creates either suspense or
excitement. As his own personal reward, Kaulder seduces a nubile
stewardess before he sits down for the last time with his 36th Dolan
(Michael Caine of “The Dark Knight”), a revered Catholic cleric who has spent the
last 50 years chronicling our protagonist’s escapades for posterity.
Incidentally, Dolans are members of a covert Axe and Cross society within
the Catholic Church. Like Kaulder, they have devoted themselves to
maintaining an uneasy truce between humans and witches. In “The Last
Witch Hunter,” witches walk the earth with mankind, just as vampires did in
“Blade,” but few people know about their phantasmagorical presence.
Kaulder and the clerics act as intermediaries who work alongside the crafty
Witch Counsel to keep these necromancers in line. Kaulder captures
witches who illegally practice black magic, and the Witch Counsel entomb them
in a maze of caves.

The 36th Dolan is poised
to retire, and the 37th Dolan (Elijah Wood of “The Lord of the
Rings” trilogy) prepares to replace him. Although he saved the 37th
Dolan from a coven of witches, Kaulder doesn’t immediately recognize this
newcomer. Meantime, dramatic complications occur when the 36th
Dolan appears to have been murdered under mysterious circumstances by a
shape-shifting sorcerer. Kaulder discovers black magic at the scene of
the crime and suspects that his ancient adversary, the Witch Queen, may have
been playing possum all those years. Along the way, Kaulder recruits a
‘good’ witch Chloe (Rose Leslie from “Game of Thrones”) to help him sort out
the mystery. Chloe’s claim to fame is her ability to cavort in
dreams.Happily, she rescues Kaulder
from one disastrous dream after another when the Witch Queen’s evil cronies
attack him on several occasions. Our hero believes the solution to his
quandary lies within his “Matrix” like dreams.

Ultimately, “The Last Witch Hunter” is largely incomprehensible
gobbledygook. Eisner and his scribes have enormous problems mapping out
their complex witchcraft mythology. They sprinkle bread crumbs of
information about these conjurers throughout the muddled melodramatics, but
seldom does anything about them come across as palatable. Two surprises
occur during these sluggish shenanigans, but neither are genuine revelations if
you have paid attention to the formulaic plot. The villains don’t stand
out from the background, and the Witch Queen is stuck in the mud from the
start. Eisner orchestrates several big-budget action scenes, but these
emerge as sloppy exercises. Altogether, “The Last Witch Hunter” qualifies
as hex-rated rubbish.